If something has generated the dominance of commercial cinema, it is a value system that discards moments that are not dramatic enough (read: worthy) to be captured on the screen. This series of short films proves the opposite: in the most mundane context, something sublime appears. Or, as the voice-over narrates in Jane Campion’s short film, “there are one million moments in your neighborhood, but each has a fragile presence which fades almost as it forms.”
Here, the camera spies moments of leisure: when we invite fiction, we dialogue with versions of our being, or we walk through unconscious landscapes. But the private drama is not only human: fictional objects and characters also rebel against the tyranny of their narrative. A rubber ducky suffers an existential crisis. Dorothy discovers that neither Kansas nor Oz are safe places for a woman to travel alone. The models on the pages of a catalog describe the prison of their home. Lara Croft detects the Sisyphean design of her history: to die again and again in a hostile and pixelated world, to be an erotic spectacle and a vehicle of contemporary anxieties.
- THEIR (Julie Murray, 2008, 5’)
A single shot frames the Microfilm airplane models and their caregivers.
- PASSIONLESS MOMENTS (Jane Campion, Gerald Lee, 1983, 11’)
A series of vignettes capture everyday moments— uncomfortable, sometimes embarrassing— but entirely familiar.
- MANUFRANCE (Valérie Mrejen, 2006, 5’)
The images of a Manufrance catalog from the seventies capture what would be the ideal day of a housewife.
- NO PLACE LIKE HOME #1 (Karen Yasinsky, 1999, 5’)
Inspired in the mystery that revolves Dorothy’s predicament in The Wizard of Oz. What happened to her parents? Why doesn’t she have friends her age? Why is her fantasy populated by old ranchers?
- I’M RUBBER (Carolyn Kaylor, 2001, 5’)
A fable about identity and belonging: the existential crisis of a rubber duck, dramatized from fragments of children’s records, goose sounds, and music derived from ornithological emissions.
- AT LAND (Maya Deren, 1944, 15’)
A woman is shipwrecked in a dreamlike landscape; in the strange journey dictated by the search for a chess piece, she runs into mysterious characters and several versions of herself.
- SHE PUPPET (Peggy Ahwesh, 2001, 10’)
In this feminist reflection and ode to Lara Croft— the voluptuous star of the video game Tomb Raider— the limited inventory of expressions and gestures of the protagonist with hostile scenarios are combined with the philosophical discourse of Fernando Pessoa, Joanna Russ and Sun Ra.